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What Metiernich wanted at the peak of his career, why he wanted it, and the methods by which he achieved his goals are questions brilliantly answered in this survey and analysis of the Austrian chancellor's diplomacy during the period when he was the pre-eminent figure in European politics. Metternich's single-minded objective during 1820–1823 was to preserve the Austrian hegemony he had gained in Central Europe after long wars, enormous effort, and great sacrifice. If the internal security and international-power position secured by Austria at the Congress of Vienna were to be defended against the impact of widespread revolution in Europe, it was imperative that peace in Europe and the status quo be maintained. This required an unyielding opposition to all political movements that might disturb the equilibrium, especially French chauvinism and the spread of French constitutional ideas. A one-man distillate of the doctrine of absolute monarchy, Metternich was the relentless foe of any cause, just or unjust, that threatened European repose. Hence, when the revolution in Naples seriously menaced Austrian hegemony in Italy, Metternich determined that the constitutional regime in Naples must be overthrown by an Austrian armed force, an absolute monarchy restored, and an Austrian army of occupation kept there. Nor did he scruple to use duplicity, secret negotiation, trickery, or deceit against ally and adversary alike in his effort to enlist them in the common cause of all thrones. At the Congress of Troppau, Metternich succeeded not only in defeating Russian ideas for peaceful intervention and a moderate constitution at Naples, but also in converting Tsar Alexander to thoroughly conservative views, thereby making Russia a powerful supporter of Austrian policies and knowingly alienating England, formerly Austria's closest ally. Paul W. Schroeder brings to this bookexceptional scholarship and an objectivity hard to attain when dealing with a personality. Although Metternich, as Schroeder sees him, doubtless helped to maintain European peace and order, his real greatness consisted not in his European principles, but in his ability to defend Austrian interests under the guise of European principles. The evidence, gathered from documentary material in the Haus Hof- und Staatsarchiv in Vienna, has forced the author to the conclusion that Metternich was no real statesman. The very qualities that distinguished him as a brilliant diplomat-keen vision, cogent analysis, fertility of expedients, farsightedness, flexibility, and firmness of purpose-were converted into those of blindness to reality, superficial analysis, sterility of expedients, dogmatism, and failure of will when confronted with fundamental problems of state and society.

A bilingual volume that reveals an intriguing world of courtly love and satire in medieval Portugal and SpainThe rich tradition of troubadour poetry in western Iberia had all but vanished from history until the discovery of several ancient cancioneiros, or songbooks, in the nineteenth century. These compendiums revealed close to 1,700 songs, or cantigas, composed by around 150 troubadours from Galicia, Portugal, and Castile in the thirteenth and early fourteenth centuries. In Cantigas, award-winning translator Richard Zenith presents a delightful selection of 124 of these poems in English versions that preserve the musical quality of the originals, which are featured on facing pages. By turns romantic, spiritual, ironic, misogynist, and feminist, these lyrics paint a vibrant picture of their time and place, surprising us with attitudes and behaviors that are both alien and familiar.The book includes the three major kinds of cantigas. While cantigas de amor (love poems in the voice of men) were largely inspired by the troubadour poetry of southern France, cantigas de amigo (love poems voiced by women) derived from a unique native oral tradition in which the narrator pines after her beloved, sings his praises, or mocks him. In turn, cantigas de escárnio are satiric, and sometimes outrageously obscene, lyrics whose targets include aristocrats, corrupt clergy, promiscuous women, and homosexuals.Complete with an illuminating introduction on the history of the cantigas, their poetic characteristics, and the men who composed and performed them, this engaging volume is filled with exuberant and unexpected poems.

In 1940, Japan was into its third year of war with China, and relations with the United States were deteriorating, but it was a heady time for the Japanese nonetheless. That year, the Japanese commemorated the 2,600th anniversary of the founding of the Empire of Japan. According to the imperial myth-history, Emperor Jimmu, descended from the Sun Goddess Amaterasu, established the "unbroken imperial line" in 660 BCE. In carefully choreographed ceremonies throughout the empire, through new public monuments, with visual culture, and through heritage tourism, the Japanese celebrated the extension of imperial rule under the 124th emperor, Hirohito. These celebrations, the climactic moment for the ideology that was central to modern Japan's identity until the imperial cult's legitimacy was bruised by defeat in 1945, are little known outside Japan. Imperial Japan at Its Zenith, the first book in English about the 2,600th anniversary, examines the themes of the celebration and what they tell us about Japan at mid-century. Kenneth J. Ruoff emphasizes that wartime Japan did not reject modernity in favor of nativist traditionalism. Instead, like Nazi Germany and Fascist Italy, it embraced reactionary modernism. Ruoff also highlights the role played by the Japanese people in endorsing and promoting imperial ideology and expansion, documenting the significant grassroots support for the cult of the emperor and for militarism. Ruoff uses the anniversary celebrations to examine Japan's invention of a national history; the complex relationship between the homeland and the colonies; the significance of Imperial Japan's challenge to Euro-American claims of racial and cultural superiority; the role of heritage tourism in inspiring national pride; Japan's wartime fascist modernity; and, with a chapter about overseas Japanese, the boundaries of the Japanese nation. Packed with intriguing anecdotes, incisive analysis, and revelatory illustrations, Imperial Japan at Its Zenith is a major contribution to our understanding of wartime Japan.

In his three previous memoirs, Floyd Skloot grappled with the brain-ravaging virus that struck him at forty-one. He was, as the San Francisco Chronicle noted, "shaping the experience of crippling illness into dazzling literature." Sifting through memories and observations to discover how circumstance and nature conspired to make him the writer he is, Skloot enacts in this book the very process he describes, the shaping of a writer's life. Among the influences of family and close friendship, experience and popular culture, he uncovers a unique and telling perspective on the forging of a writer's individual sensibility. At the same time, his book explores fundamental questions about how life shapes the creative spirit—and how, in turn, the writer makes sense of it all and gives life a new and meaningful shape in the form of literature.

In his three previous memoirs, Floyd Skloot grappled with the brain-ravaging virus that struck him at forty-one. He was, as the San Francisco Chronicle noted, "shaping the experience of crippling illness into dazzling literature." Sifting through memories and observations to discover how circumstance and nature conspired to make him the writer he is, Skloot enacts in this book the very process he describes, the shaping of a writer's life. Among the influences of family and close friendship, experience and popular culture, he uncovers a unique and telling perspective on the forging of a writer's individual sensibility. At the same time, his book explores fundamental questions about how life shapes the creative spirit—and how, in turn, the writer makes sense of it all and gives life a new and meaningful shape in the form of literature.

The Nadir and the Zenith is a study of temperance and melodramatic excess in African American fiction before the Harlem Renaissance. Anna Pochmara combines formal analysis with attention to the historical context, which, in addition to postbellum race relations in the United States, includes white and black temperance movements and their discourses. Despite its proliferation and popularity at the time, African American fiction between Reconstruction and World War I has not attracted nearly as much scholarly attention as the Harlem Renaissance. Pochmara provocatively suggests that the historical moment when black people’s “status in American society” reached its lowest point— what historian Rayford Logan called the “Nadir”—coincides with the zenith of black novelistic productivity before World War II. Pochmara examines authors such as William Wells Brown, Charles W. Chesnutt, Paul Laurence Dunbar, Frances Ellen Watkins Harper, Pauline Elizabeth Hopkins, and Amelia E. Johnson. Together, these six writers published no fewer than seventeen novels in the years of the Nadir (1877–1901), surpassing the creativity of all New Negro prose writers and the number of novels they published during the height of the Harlem Renaissance in the 1920s.

The Nadir and the Zenith is a study of temperance and melodramatic excess in African American fiction before the Harlem Renaissance. Anna Pochmara combines formal analysis with attention to the historical context, which, in addition to postbellum race relations in the United States, includes white and black temperance movements and their discourses. Despite its proliferation and popularity at the time, African American fiction between Reconstruction and World War I has not attracted nearly as much scholarly attention as the Harlem Renaissance. Pochmara provocatively suggests that the historical moment when black people’s “status in American society” reached its lowest point— what historian Rayford Logan called the “Nadir”—coincides with the zenith of black novelistic productivity before World War II. Pochmara examines authors such as William Wells Brown, Charles W. Chesnutt, Paul Laurence Dunbar, Frances Ellen Watkins Harper, Pauline Elizabeth Hopkins, and Amelia E. Johnson. Together, these six writers published no fewer than seventeen novels in the years of the Nadir (1877–1901), surpassing the creativity of all New Negro prose writers and the number of novels they published during the height of the Harlem Renaissance in the 1920s.

1942 represents the apex of the global wave of autocratization associated with the Era of Fascism, and the expansion of Axis Rule during World War were responsible for this impressive growth of authoritarian 'occupation' regimes. Starting in Asia with the Imperialist expansion of Japan, followed by Nazi Germany and Fascist Italy in Europe, the number of dictatorships increased substantially. This Element analyses how the three poles of Axis rule, Italian Fascism, Nazi Germany, and Authoritarian Japan, lead the dynamics of institution-building of political regimes of occupation under their direct or indirect control, respective diffusion models and, in some cases, coercive transfers.

1942 represents the apex of the global wave of autocratization associated with the Era of Fascism, and the expansion of Axis Rule during World War were responsible for this impressive growth of authoritarian 'occupation' regimes. Starting in Asia with the Imperialist expansion of Japan, followed by Nazi Germany and Fascist Italy in Europe, the number of dictatorships increased substantially. This Element analyses how the three poles of Axis rule, Italian Fascism, Nazi Germany, and Authoritarian Japan, lead the dynamics of institution-building of political regimes of occupation under their direct or indirect control, respective diffusion models and, in some cases, coercive transfers.